Synopses & Reviews
Thought to be unequivocally different from one another, modern men and women were expected to express their sexuality and social positions in the clothes they wore, the poses they struck, and the behavior they exhibited. In a series of case studies, looks at works by Cezanne, Renoir, Seurat, Tissot, and Caillebotte as well as photographs of male body builders to establish an image of the modern body. Well-known works such as Renoir's , Seurat's , and Cezanne's are given new interpretations, while lesser known paintings like Tissot's series on or Caillebotte's iconoclastic are looked at seriously for the first time. is an original account of one of the best-loved periods in Western art history. By taking "figure and flesh" as its focus, it bypasses traditional art historical categories and style labels to provide a reading of the work of the Impressionists and their contemporaries that gets to the heart of French society of the period.
A study of the depiction of differences in gender in late nineteenth century France. The author begins with a study of the male figures of Caillebotte and progresses to consider photographs of the movement of the male body. Then, she considers contemporary views of women through the work of Tissot, Seurat, Renoir, and Cezanne.
BODIES OF MODERNITY explores the ways in which men's and women's bodies were represented in late 19th-century France. A series of case studies looks at well-known works by Cezanne, Renoir, and Seurat with new interpretation, while lesser-known works are considered seriously for the first time. 140 illustrations, 14 in color.
explores the ways in which men's and women's bodies are represented in late nineteenth-century France.
Includes bibliographical references (p. 221-231) and index.
About the Author
Tamar Garb is Reader in the History of Art at University College London and author of Sisters of the Brush and Bodies of Modernity, among many publications on late nineteenth-century art and culture.